Just download the tar.gz file, I think its made in 2011. Then you go to files….Install Plugin and then you select that plugin.
Or are you using Eppel softwhere?
BTW: The slinky is made with 100% Bryce. Just created a torus and then used multi replicate.

Nice to see the tutorials are getting exercised. Meanwhile… I am finding this seemingly simple idea is distracting me…

Hmn… I seriously underestimated how tricky this idea was going to be.

The locking mechanism still jams. It is closer to workable, but still a geometric impossibility. I may have to switch to a frame or liner lock - the flipper is redundant really with a back lock design. I was able to put in a slot to admit the geometry though…

This time the pivot point is correctly located.

I’m not fond of the blade shape, and I didn’t get the hollow grind I wanted.

Improvements, gimping is better. I’ve worked out a better method for skeletonisation which will save time.

Swings and roundabouts. Oh and I managed to split off the cutting edge so it can be shiny while the rest is matt.

Just goes to show the depth of what Bryce is already capable of and that it needs to be made more accessible so that more than just the clever-dicks such as your good-self can do these things. But anyway, nice work, the light part looks like it’s galvanised, like I see on the street-lamp posts and sheet steel etc.

BTW, when you’re up to the challenge of another material type (like you did with the leatherette), just say the word. I have an idea about something and was curious how you would have done it.

Just goes to show the depth of what Bryce is already capable of and that it needs to be made more accessible so that more than just the clever-dicks such as your good-self can do these things. But anyway, nice work, the light part looks like it’s galvanised, like I see on the street-lamp posts and sheet steel etc.

BTW, when you’re up to the challenge of another material type (like you did with the leatherette), just say the word. I have an idea about something and was curious how you would have done it.

Not that clever… it would be cleverer if I could get beyond making three dimensional locking puzzles to something viable. Then I would include images of the innards - which I am hiding from you at the moment out of embarrassment at my own ineptitude to simply imagine one object with two moving parts.

Anyway, fire away, I can ponder that while I’m trying to figure out how to make a frame lock.

Well, to be fair you’re trying to do something normally the domain of specialist CAD tools (it’s more an engineers job than an artists job). What you’re trying to do normally requires the sort of stuff you design robot arms with, and other mechanisms, and the key here is “dynamic constraint modeling” - something you don’t get in standard modelers.

Been playing with it myself, awesome program, but it’s new and doesn’t work properly yet. But what you can do, is create live and dynamic constraints for your model as you model it, so that, for example, you can effectively test the mechanism on your knife as you model it. Watch how the bicycle frame behaves as he moves it around - that was due to some simple constraints, but you can create pretty much any type of constraint you wish. Frustrating if you’re new to it, but cool when you get used to it. But there are lots of videos already for that program, so it’s not too bad getting into it.

At the time Bryce 5 was the current release (and therefore used the old TA system), I started playing around with the idea of making various two-part materials to achieve things that cannot be achieved with a single surface. What triggered it was a burning desire to recreate angora, and it worked.

I took a sphere, duplicated it, kept them both at the same position, and made one sphere slightly larger than the other. Unlike chrome, paint, and glass etc, angora has some relief to it because it has hairs that stand on end making it soft and fluffy. But it’s so detailed with all those tiny hairs that modelling it is not a realistic option. So, the inner sphere was designed to be a standard material (perhaps a little SSS) and the outer sphere was put into Volumetric mode. The colours were roughly matched to each other with the inner sphere being made slightly darker.

Then, the magic part; the outer Volumetric sphere had a noise-like texture applied to it at a small scale so that it effectively “floated” like microscopic clouds over the inner sphere. It wasn’t perfect, but I had the impression of that soft fluff and at least I knew the effect worked as expected. I even tried rim-lighting it and it still gave a reassuring look, in fact it made me smile, big-time.

But when I did it it was only crude and with the old TA system, and I never even bothered to back it up or go back to it. So your challenge is to recreate a completed angora material (see attached photo). It’s different in the sense it requires two geometries, or (and the main reason for this) one geometry if you can figure out a way to do that. So, perhaps try to create angora with one geometry if at all possible, but if it isn’t, build upon the technique I described and make it better using your DTE skills to control the volumetric fluff. If you do it well I think you’ll find a lot of people using it because it looks awesome even when it’s done crude!

Angora looks sexy as hell on the right clothes, and people render lots of Vickies around here ;-)

At the time Bryce 5 was the current release (and therefore used the old TA system), I started playing around with the idea of making various two-part materials to achieve things that cannot be achieved with a single surface. What triggered it was a burning desire to recreate angora, and it worked.

I took a sphere, duplicated it, kept them both at the same position, and made one sphere slightly larger than the other. Unlike chrome, paint, and glass etc, angora has some relief to it because it has hairs that stand on end making it soft and fluffy. But it’s so detailed with all those tiny hairs that modelling it is not a realistic option. So, the inner sphere was designed to be a standard material (perhaps a little SSS) and the outer sphere was put into Volumetric mode. The colours were roughly matched to each other with the inner sphere being made slightly darker.

Then, the magic part; the outer Volumetric sphere had a noise-like texture applied to it at a small scale so that it effectively “floated” like microscopic clouds over the inner sphere. It wasn’t perfect, but I had the impression of that soft fluff and at least I knew the effect worked as expected. I even tried rim-lighting it and it still gave a reassuring look, in fact it made me smile, big-time.

But when I did it it was only crude and with the old TA system, and I never even bothered to back it up or go back to it. So your challenge is to recreate a completed angora material (see attached photo). It’s different in the sense it requires two geometries, or (and the main reason for this) one geometry if you can figure out a way to do that. So, perhaps try to create angora with one geometry if at all possible, but if it isn’t, build upon the technique I described and make it better using your DTE skills to control the volumetric fluff. If you do it well I think you’ll find a lot of people using it because it looks awesome even when it’s done crude!

Angora looks sexy as hell on the right clothes, and people render lots of Vickies around here

Hmn… well, there’s one main issue that is going to scotch this idea for making clothes. It will work on primitive geometries but not meshes. And this would help https://bugs.daz3d.com/view.php?id=39434 But I will investigate never the less.